'Die Fledermaus' flies high at Morris

REVIEW

REVIEW

March 07, 2006|MICHAEL SNYDER Tribune Correspondent

SOUTH BEND The name Johann Strauss Jr. is synonymous with the Golden Age of Viennese Operetta, and his most famous stage work, "Die Fledermaus" ("The Bat"), epitomizes that era. Because the work is frequently performed, it is a challenge to present it in a way that is fresh and new. On Sunday, however, Moscow-based Helikon Opera did just that with its performance of the comedy at the Morris Performing Arts Center as part of the University of Notre Dame's NDPresents: Live at the Morris series. The plot of "Die Fledermaus" is simple: Gabriel von Eisenstein once played a trick on his friend Dr. Falke after they attended a costume ball. Now, many years later, Falke has devised a way to exact a lighthearted revenge, which will result in cases of mistaken identity, numerous flirtations and, for some characters in the operetta, light jail terms. Another costume ball is central to Falke's plan. Helikon Opera has received acclaim for its progressive sets and costumes. In this regard, production director Dmitri Bertman, costume designer Tatyana Tulubieva and set designer Igor Nezhny did not disappoint. The set, which served as the backdrop for all three acts, consisted of movable props in the form of clustered stringed instruments. The orchestra, which was placed on stage behind the singers and sets, took part in the action as well as the sound, serving as a prop for singers' entrances and exits and, in particular, for Prince Orlovsky's party. Costuming, like the sets, was sparse and simple, but creative. One of the charms of this production was the interpolation of gags to remind the audience that everyone on stage was, indeed, Russian. The use of two clowns who performed during the overture and in most scenes was an added attraction; they entertained during some of the operetta's slower moments and conspired with the rest of the cast to show the audience how Russians "look, sound and behave." Tenor Mikhail Serychev as Alfred, whose voice so entices Rosalinde, chose to sing a Russian song rather than Alfred's usual song at the beginning of Act I. In Act III, from his jail cell, he sang yet another Russian song because "he's Russian." The cast was evenly balanced, and all roles were well sung. A few cast members, however, deserve special mention. Soprano Anna Grechishkina, as Adele, sang a seamless coloratura that was produced with complete ease. Dmitriy Ponomarev, as von Eisenstein, possessed a velvety, lyric tenor that was complemented by the most developed, and, as a result, likable characterization in the cast. Soprano Yulia Korpacheva, as Rosalinde, offered a Czardas that was dreamy and lush. The only drawback in an otherwise strong production was the spoken English dialogue. Luckily, the English translation that was projected above the stage offered a clarity that otherwise would have been lost due to the singers' thick accents and unusual inflections. Blame it on the borscht.